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Class 

Book 

Copyright N°_ 



COPYRIGHT DEPOSIT. 



The 

Photoplaywrights' 

Handy 

Text-Book 



BY 

Florence Radinoff 



Manhattan Motion Picture 
Institute 

NEW YORK 






« 






COPYRIGHT I913 
BY 

Manhattan Motion Picture 
Institute 



JAN 19 1914 

©CI.A3G16i:0 



FOREWORD 

HN presenting The Photoplay- 
Wrights' Handy Textbook the 
author has somewhat departed 
from the usual form in which mail in- 
struction in scenario writing is given. 

Ordinarily the subject matter is ar- 
ranged in lesson form, usually in ten 
divisions, with awkward breaks in the 
continuity of the text for the sake of 
serially dividing the lessons. 

In order to make this book more 
helpful to the student the text has been 
arranged in a more careful manner and 
divided more naturally. This arrange- 
ment will avoid unnecessary confusion 
of ideas and at the same time mate- 
rially assist the student in assimilating 
the fundamental requirements of 
successful scenario writing. 

Neither a text-book nor an elaborate 
course of lessons can make you a 
successful writer of scenarios unless 
you apply yourself faithfully to study 



and practice. A cursory reading will 
not suffice. It is improbable that your 
first scenario will be accepted. But 
you must not let initial failure discour- 
age you. It will mean simply that some- 
thing is wrong with it that can be rem- 
edied by a more careful study of the 
various elements which enter into the 
building of a desirable scenario. 

If you are well grounded in your 
studies fatal weaknesses readily will 
be discernable to you. Try again, more 
carefully, and keep on trying, never 
making the same mistake a second 
time. In a short while your growing 
experience and practice will tell and 
you will find your market. Some of our 
most successful photoplaywrights who 
are now finding a ready market for 
their efforts wrote dozens of scenarios 
before one finally was accepted. 
Perseverance wins in the end. Stick 
ambitiously to your task and success 
probably will come to you sooner than 
you expect it. 



CONTENTS 



PART I. 

CHAPTER PAGE 

I. Preparation 9 

II. The Idea 13 

III. Developing The Idea 19 

IV. Clothing The Idea 27 

V. Title, Synopsis, Etc 33 

VI. The Manuscript . . 37 

PART II. 

VII. Synopsis 43 

VIII. Scenario — Drama 47 

IX. Scenario — Comedy 65 

X. Where to Send Scenario. 75 



PART I. 



CHAPTER I. 

Preparation 

irp ILLITERACY does not prevent an 
idea from being born — it merely 
" hinders it from growing up. A 
command of words helps to put an idea 
down on paper so that it will "strike 
twelve/' Faulty grammar, awkward- 
ness of expression and improper sen- 
tence construction tend to destroy the 
effectiveness of a motion picture scen- 
ario by presenting it poorly. 

The scenario editor is too busy to 
waste time disentangling a plot from 
a poorly written manuscript. He is 
looking for scenarios with a "punch/' 
and his eye follows the clearly written 
manuscript more readily than the one 
which entails mental effort. 

It would be well, then, for you to 
acquire facility in expressing your 
thoughts before you attempt writing 



The Photoplaywrights' Handy Textbook 

a scenario. While a scenario does not 
require the brilliance of literary style 
demanded in the short story, it does 
require a terse and telling employment 
of the facts of which you write. Chapter 
IV, on "Clothing the Idea," will dem- 
onstrate this fact to you more fully. 

While nothing will be found therein 
that has a direct bearing on the writing 
of scenarios, a careful study of any 
good, standard textbook on rhetoric 
will prove of valuable assistance to you 
in putting words together in the most 
effective form. Genung's Outlines of 
Rhetoric is an excellent book for this 
purpose. 

Another valuable part of your pre- 
paratory training should be frequent 
visits to motion picture shows, not 
merely for the entertainment which they 
provide, but for the purpose of study- 
ing the films. There on the screen you 
will observe the pictured expression 
of the written line. Take mental notes 

10 



The Photoplaywrights Handy Textbook 

of the action and try to figure out 
how it must have been written down on 
paper so that the effect you witness 
was produced. Another value in this 
part of your training is the idea it will 
give you of the type of photoplays 
that are most popular. 

Visit not one theatre, but many, 
studying the films of as many different 
producing companies as possible. By 
so doing you soon can determine which 
type of photoplay you can most readily 
attempt to write into scenarios. You 
may find that your natural talent is 
for plays of western life, for instance, 
or comedies, or intensely dramatic 
stories. It would be well at first for 
you to confine your efforts to the kind 
of scenarios for which you discover 
that you show the greatest aptitude. 
A more general distribution of effort 
may come later when you have gained 
experience. 

A further system for you to pursue 

11 



The Photoplaywrights Handy Textbook 

is the reading of photoplays in story 
form, as they appear in the various 
motion picture story magazines. Re- 
construct these stories in what you 
think must have been their original 
scenario form. It is excellent practice 
work, the more valuable in acquiring 
perfect technique because you have a 
ready-made plot and need not divide 
your attention with story-building. 

This form of study should be pursued 
even after you have begun to write 
scenarios from your own ideas. It is 
constant practice that makes for ease 
and effectiveness in your own original 
work. 

Finally, read widely, if possible, all 
current fiction to avoid unwittingly 
offering an idea already expressed by 
another. For all scenario editors keep 
close watch on this literature and a 
scenario that bears too close a resem- 
blance to a published story is promptly 
returned. 

12 



CHAPTER II. 

The Idea 

THE idea is the soul of the scen- 
ario; the manuscript is merely 
it's voice. 

No matter how well a manuscript is 
written, it is the idea that sells it. A 
good idea will sometimes sell a faulty 
manuscript, but a faultless manuscript 
will never sell a poor idea. 

An idea is valuable to the manufac- 
turer of films in proportion to it's 
strength and originality. When a 
warmed-over idea is wanted, the work 
is done in the studio. Outside contri- 
butions to be salable must bear the 
stamp of absolute originality. 

It would be well, after you have 
selected an idea for a scenario, for you 
to ask yourself these questions before 
giving your time to its development: 

1 — Is it an idea with a "punch"? 

13 



The Photo playwrights' Handy Textbook 

2 — Has a similar idea ever been used 
before ? 

If you are assured that both ques- 
tions can be answered in the affirma- 
tive, then go ahead and prepare your 
scenario. Otherwise discard the idea 
at once, unless you intend developing 
it only for practice. 

Because so many thousands of photo- 
plays have been produced it is hard to 
evolve an original idea, and scenario 
editors are experiencing great difficulty 
in obtaining them. Yet human in- 
genuity and inspiration is far from 
being exhausted and thousands of new 
ideas remain to be discovered. They 
lurk around every turn in the path of 
the diligent scenario writer who really 
is searching for them. The lazy photo- 
playwright seldom finds them — and he 
doesn't deserve to. 

The ideas that have proven most 
successful have not been drawn from 
pure imagination, but from the life- 

14 



The Photoplaywrights' Handy Textbook 

stories that are lived right around us. 
The greatest appeal is made by the 
story that everyone recognizes because 
it is so intensely human. Extrav- 
agantly impossible stories do not "get 
over" with the appeal, save now and 
then as a comedy or a burlesque. The 
day of the motion picture that told of 
the things that couldn't possibly hap- 
pen is past. It's the things that can 
happen and do happen that reach the 
photoplay audiences, and stir their 
sympathies or arouse their merriment. 
Love triumphing over obstacles, honor 
rising above temptation, good over- 
coming evil, friendship tried and found 
steadfast, the sinner brought to re- 
pentence, lost position regained, hard- 
ship bearing fruit in reward, false 
ideals replaced by the better kind, 
villainy thwarted, loyalty proved ab- 
solute, self-denial for another's sake, 
broken ties of love or kinship reunited, 
ambition sacrificed for greater good. 

IS 



The Photoplaywrights' Handy Textbook 

These are common stories in the great 
book of human experience, and we 
know they are printed there, but we 
like to hear about them. 

And what a storehouse of inspiration 
they are to draw upon! With their 
never-ceasing variation of detail and 
circumstance the supply of material 
they offer is inexhaustible. 

So you have only to look for ideas 
to find them. But you must look with 
eyes wide open, and self-trained, to let 
no suggestion escape them. Nothing 
is too commonplace to yield the rudi- 
ment of an idea. 

Yet great care must be excercised 
lest the idea have some objectionable 
quality. There are certain things 
which do not make good "copy." Vice 
must never be exploited and never be 
portrayed save to point a lesson 
through it's being overcome. Human 
deformities are things to sympathetic- 
ally be kept in a closed book and never 

16 



The Photoplaywrights' Handy Textbook 

ridiculed. The social evil is taboo. 
Crime or violence are better left un- 
pictured. The National Board of 
Censorship, which inspects and passes 
upon all films before publication, will 
not pass any photoplays which are con- 
sidered objectionable, and these are 
among the things which it views with 
keen distaste and which consign a 
photoplay to a merited grave. 

If you write a comedy — and there is 
a demand for comedies just now which 
far exceeds the supply — be sure that 
its fun is clean and healthy. Tainted 
humor is not wanted. 

And be sure that your idea is really 
humorous. An idea can be foolish 
without being funny. Delicious humor, 
which has a point to it, and which 
keeps the sting out of a laugh, is as 
rare as "a day in June." An idea which 
depends for it's laugh upon someone 
getting hurt is not humorous — it is 
painful. It isn't necessary. And slap- 

17 



The Photoplaywrights' Handy Textbook 

stick comedy is decidedly passe, to- 
gether with absurd and endless chases 
and magic pills and powders. The 
humor the scenario editors are wel- 
coming with open arms is the kind 
that plays upon really funny situations 
which are not in the realms of impos- 
sibility, but that can earn the verdict: 
"it really might happen so." 

Once more be impressed with the 
fact that the scenario editors will hail 
your idea with delight if it is "unusual." 
or "different." Bear that in mind, for 
if you remember it, it will prove the 
key to your success as a scenario 
writer. 



18 




CHAPTER III. 

Developing the Idea 

^EVELOPING a photoplay idea 
is like developing a picture, 
your mind being the camera. 
The plate on which a photograph is 
taken is merely a surface of sensitized 
blankness. An image is thrown on it 
by lens and shutter, but to produce a 
finished photograph many things must 
be done to and with that plate, and 
some parts of the picture "come out" 
before others. 

So with the development of your 
photoplay ideas into scenarios. Say 
your scenario is to be written around 
a situation where, after years of separa- 
tion, two lovers are reunited. That 
of course, is a stock idea which has 
been treated in nearly every imaginable 
way. However, in developing that 
idea, you would have to make clear 

19 



The Photoplaywrights Handy Textbook 

not only the means by which they were 
brought together, but the cause of 
their former separation. 

But those are merely piers for the 
bridges. All the structural work must 
next be done, tying the piers together 
and laying the road foundation over 
which the word army of your scenario 
is to march. What were the incidents 
that surrounded the separation and the 
reunion? And so on, weaving the 
whole fabric of the scenario upon which 
the idea is embroidered. 

It would be well, especially while you 
[are a beginner, to lay out your idea on 
paper in the form of a skeleton. For 
example, taking the theme above men- 
tioned, lay your plot out in some such 
manner as this : 

(Title) 

"AFTER MANY YEARS" 

I. The Separation 

A — Mary and John, two lovers, quarrel over 

his apparent unfaithfulness when he is 

20 



The PhotoplaywrightJ Handy Textbook 

seen dining with a pretty girl, whose iden- 
tity he refuses to disclose, 

B — Mary gives John back the engagement 
ring and they part. 

C — John leaves town to become a rover and 
Mary seeks solace in a convent. 

II. The Interim 
A— John arrives in Alaska and becomes a 

prospector. 
B — Mary learns to be a nurse and receives an 

appointment to a Western hospital, to 

which she journeys. 

III. The Reunion 

A — John finds gold. 

B — Mary meets in the hospital, sick, the girl 
with whom she saw John dining, and 
learns she is his cousin whom he had not 
seen for years. Mary realizes that John's 
reticence was caused by his belief that she 
did not trust him, and begs for news of 
him, which the cousin is unable to give. 

C — John, now rich, realizes that he was un- 
wise and hasty in running away and de- 
termines to go home and try to heal the 
breach with Mary — if it is not too late. 
He arrives, on his way, in the city where 
Mary's hospital is located. 

21 



The Photoplaywrights Handy Textbook 

D — Mary, on her way to visit a sick woman, 
is accosted by a rough, from whom she is 
rescued by a bearded stranger (John), 
whom she does not recognize. Nor does 
John at first recognize her. Only when 
she is fleeing down the street does some- 
thing familiar in her appearance rouse 
him. He stands calling after her when 
the rough revives and strikes him down 
from behind with a black-jack. 

E — A policeman, attracted by the disturbance, 
sends John to the hospital in an ambu- 
lance. 

F — It falls to Mary to attend the new patient, 
and John opens his eyes to find her bend- 
ing over him. Recognition follows. No 
need for explanations now; they are re- 
united at last! 

The story outlined in the above 
skeleton is put together for purposes of 
illustration only. Such an outline is 
merely the first step. Next comes 
working out the detail and "color." 
It must be shown that Mary and John 
are lovers. It must be shown that she 
sees him dining with the strange girl. 
It must be shown that they quarrel 

22 



The Photoplaywrights' Handy Textbook 

and that the quarrel is over that cir- 
cumstance. The whole plot must be 
worked out in a series of pictures that 
will adequately portray the action of 
the story. You must show how things 
happen, where they happen, and why 
they happen. One event must follow 
the other in logical sequence. There 
must be a reason shown for everything 
the characters do, and their movements 
must be made perfectly clear to your 
audience. 

Remember, in developing your ideas, 
that while the average visitor in the 
motion picture show has a certain 
amount of imagination which will 
bridge over little gaps, the truly en- 
tertaining photoplay is one which re- 
quires little mental strain to follow. 
The more completely a photoplay tells 
its story the more satisfying its effect 
on the audience. A photoplay is a 
picture of events, not an invitation to 
turn mental handsprings. 

23 1 



The Photoplaywrighis' Handy Textbook 

Remember, too, that while the story 
is perfectly clear in your mind, because 
you have created it, you are the more 
apt to take for granted the ability of 
your audience to follow you. Scan 
your plot carefully, being sure that its 
development is logical and that it tells 
every item of the story necessary to make 
the climax fully understood. 

Proper attention should be given to 
climax. Never let your events fore- 
cast your climax, but lead your au- 
dience on to a surprise. If you cannot 
make your climax wholly unexpected, 
at least let it be but dimly fore- 
shadowed. Make your audience realize 
that something is coming, but keep 
them in suspense. If you can lead 
them into expecting one thing, only to 
surprise them with a wholly unex- 
pected denouement, so much the 
better. 

Bear in mind, too, in developing 
your idea, that ready-made stage set- 

24 



The Photoplaywright's Handy Textbook 

tings ordinarily are preferable to those 
which have to be arranged at a great 
expense, and that costly properties are 
warranted only in the production of a 
very few films — those which are so 
"different" from the ordinary run of 
photoplays that they would naturally 
create a tremendous demand. Make 
use, especially in beginning, of the 
more easily accessible settings and 
properties. Just now there is a big 
demand for "out-of-doors" photoplays 
where nature can be called upon to 
furnish the background. It would be 
ridiculous to expect a film company to 
buy a hotel and burn it down just for 
the sake of a thrilling "rescue" scene 
or to dynamite a big reservoir dam to 
make a flood scene. 

When you have assimilated all this 
groundwork of instruction you will b£ 
ready to clothe your idea in the word- 
ing of the scenario. 

As to the extent to which an idea 

25 



The Photoplaywrights Handy Textbook 

should be developed, remember that 
only an unusually strong or sensational 
idea is worth extending into two or 
more reels. For a single reel subject 
from twenty to thirty scenes are neces- 
sary, according to the length of time 
required to show them. Split-reel 
subjects, especially in the nature of 
comedies are in growing demand and 
it would be well to try out your talent 
on one of these before attempting the 
longer subjects. 



26 




CHAPTER IV. 

Clothing the Idea 

ITH your skeleton and its 
accompanying notes before 
you, start dividing your story 
into scenes. 

Remember that in a scenario words 
and descriptions not essential to the 
action are superfluous. While the 
short story frequently depends for its 
mental diversion upon brilliant ver- 
biage and colorful phraseology the 
scenerio is put together for action and 
not for entertainment. The scenario 
editor doesn't read your contribution 
to while away a pleasent hour. He 
wades right through it — unless you 
head him off by making it too difficult 
a task — to see if you have told a clear 
and convincing picture story. 

He does not want to be concious of 
words— just pictures. His imagination 

27 



The Photoplaywrighttf Handy Textbook 

runs pictorially, not verbally. If 
Heloise, carrying a tray of dishes, 
enters the room, trips over a rug and 
lands in a heap on the floor, he wants 
to know just that and no more. He 
does not care what she thought about 
the weather, or how long she spent 
curling her hair, or that she was think- 
ing of a dream of a waist she had seen 
in Thimble's the day before at only 
$2.98. For those are things that can't 
be told in the picture and aren't es- 
sential to the action anyway. Neither 
does he want the picture set up before 
him in some such way as this: 

"Heloise, the pretty, dark-eyed little 
French maid, humming lightly to her- 
self and wondering if Pierre, her ardent 
lover, is thinking of her, pushes open 
the swinging door and, balancing her 
tray of dishes gracefully on her hand, 
trips lightly into the dining room. 
But, Oh! Alas that her eyes are not 
on the floor and that her thoughts 

28 



The Photoplaywrights' Handy Textbook 

are wandering, for she does not see that 
a corner of the rug is upturned, and 
her^ trim-shod little foot engages in the 
fold and her attitude of grace is turned 
to one of awkward unbalance! A 
shriek, a wild flying of tray and dishes, 
a crash that wakes .the echoes, and 
Heloise finds herself in uncomfortable 
contact with the hard and merciless 
parquet floor !" 

One hundred and twenty-five words, 
a third of a page of manuscript, and 
half a minute of reading to put over 
action that can be outlined in fifteen 
words, a little over a single typewritten 
line, and three seconds of reading! 
Judge for yourself: 

"Heloise enters the room, carrying a 
tray of dishes, trips over a rug and 
falls." 

Nothing is lost in the brevity. The 
director in the studio can supply the 
incidental coloring matter and the 
scenario editor can imagine it. That 

29 



The Photoplaywrights Handy Textbook 

is their business. Yours is simply to 
give them the idea expressed in the 
fewest possible words and in the most 
direct manner. So don't try to be bril- 
liant. Aim, rather, to be concise. It 
will sell your scenario more quickly. 
It will at least secure a just reading. 

Remember, the more you try to pad 
your idea with unnecessary phrase- 
ology, the longer it takes the scenario 
editor to read it and see it. This is a 
valuable pointer and may save you 
many disappointments. 

It is a good plan to lay out your 
scenario in what you consider to be 
the most concise and at the same time 
most comprehensive form, and then lay 
it aside for a day or two. Then go 
over it again. Wherever you can make 
one word do the work of three or four, 
without loss of meaning, or wherever 
you can strengthen or clarify your 
meaning by changing a word, mark 
the correction. Do this a second time, 

30 



The Photoplaywrights Handy Textbook 

then prepare your final manuscript. If 
you are ambitious to win recognition 
as a meritorious scenario writer* every 
scenario, before it leaves your hands, 
should be the result of your best work. 

You will now see why in Chapter I. 
so much stress was laid upon a care- 
ful preparation in thought expression. 
A careful study of rhetoric acquaints 
one with the proper choice and use of 
words. A most valuable book to use 
in conjunction with your word study 
is Fernald's English Synonyms and 
Antonyms. This will give you a ready- 
made range of vocabulary that will 
prove well nigh invaluable. 

Another good plan, when your sce- 
nario is in its first formative stage, 
is to lay aside the idea for a while 
and turn for the time being to other 
work. By returning to it when the 
mind is somewhat divorced from it, its 
weaknesses will stand out more sharply 
and you can give it stricter criticism. 

31 



The Photoplaywrights Handy Textbook 

Nothing flaunts its weaknesses like a 
cold manuscript. What seemed to you 
a burning idea may later prove to be 
only lukewarm. Other and better ideas 
may suggest themselves to you — a 
better turning of this situation or a 
stronger employment of that sequence 
of events. 

The polishing work, however, must 
never be allowed to squeeze the core 
out of an idea or rub away its texture. 
Remember, the reconstruction work 
should be for purposes of strengthen- 
ing, not for destroying. And don't be 
afraid of an idea because it is radical. 
Because it is unlike any idea you have 
ever seen expressed in motion pictures 
is its strongest recommendation. It 
is the "new" and "different" idea that 
the scenario editors are looking for 
with a' telescope. Only be sure that 
your story is clean and that its de- 
velopment is logical. 



32 




CHAPTER V. 

Title, Synopsis, Etc. 

J ANY a good scenario has gone 
into the discard for the want 
of a good title. Something 
that with a word, a pat phrase, or a 
snappy, punchy, terse combination of 
two or three words stand your idea 
up on its feet to be counted; that is 
the title to be selected. 

It must be in some way suggestive 
of the plot and pertinent to it. No 
hackneyed phrase or expression should 
be used, for by this time they are worn 
out by much use — or abuse. Origi- 
nality in the title is as much to be 
sought after as in the idea. 

The synopsis is really your story 
skeleton tersely outlined in the form of 
a brief narrative. It gathers the essen- 
tial points of your scenario together in 
their order and lays them before the 

33 



The Photoplaywrights Handy Textbook 

scenario editor in a little word sketch. 

Hence the importance of paying 
careful attention to the synopsis read- 
ily can be seen. It should be no longer 
than is actually required briefly to tell 
the story. Two hundred to five hun- 
dred words ordinarily suffice, depend- 
ing largely upon the reel length of 
your subject. A split-reel subject nat- 
urally would require less preliminary 
explanation than one designed for two 
reels. 

From your synopsis the scenario 
editor fixes in his mind your charac- 
ters and the plot through which they 
move. It predisposes him either in 
favor of your story or against it. It 
tells him at a glance whether or not 
your scenario is worth while receiving 
his further attention. In Part Two of 
this book a sample synopsis is given for 
your study. 

Sub-titles, or leaders, are inserted in 
the scenario from time to time wher- 

34 



The Photoplaywrights' Handy Textbook 

ever they are necessary to explain the 
movement of characters or develop- 
ments in the plot. They are the terse, 
pithy sentences which are flashed on 
the screen between scenes. 

But in inserting sub-titles remember 
that the length of time each one stands 
on the screen represents several val- 
uable feet of film which the story pic- 
tures cannot well spare. Sub-titles 
should be used only when absolutely 
necessary. The plot should be so 
arranged that it can be told pictorially 
with the fewest possible artificial or 
interjected explanations. 

Sub-titles also should be composed of 
the fewest possible words — from two 
to ten, with the emphasis on the two. 
From six to eight sub-titles should suf- 
fice in the scenario of ordinary length. 

Sometimes there are employed notes, 
telegrams, newspaper clippings, adver- 
tisements, handbills, etc. Inasmuch as 
these eat up valuable film space they 

35 



The Photo playwrights Handy Textbook 

never should be too long. Brevity 
should rule. It is better to do without 
them whenever possible, although they 
may be used whenever no other form 
of explanation will answer. 



35 



CHAPTER VI. 

The Manuscript 

THE idea is your stock in trade; 
the manuscript is your sales- 
man. A good idea buried in a 
poor manuscript goes to market seri- 
ously handicapped. A scenario editor 
is prepossessed in your favor when 
your manuscript comes to him fault- 
less in appearance and technique. 

Your idea, properly developed and 
clothed, must be set down on paper 
according to certain rules and forms 
which have become more or less stand- 
ardized. This standardization has 
come about, not as a matter of taste, 
but as a matter of convenience. Stress 
has been laid on the fact that scenario 
editors are busy people. They demand 
a manuscript which, if the idea is ac- 
ceptable and it has been worked out 
to their satisfaction, can immediately 

37 



The Photoplaywrights Handy Textbook 

be turned over to the director in the 
studio with as few changes as possible. 

In the first place, all scenario manu- 
scripts should be typewritten. This is 
not an unalterable rule, but the type 
written manuscript is so much more 
legible than the penwritten one, and 
is so much more compact and so much 
more easily scanned that departure 
from this rule should not be made ex- 
cept where access to a typewriter can- 
not possibly be had. 

And manuscripts always must be 
mailed flat — never rolled, but folded 
not more than twice across. The 
sheets should be fastened together, 
preferably by a clip of some sort. On 
each sheet the title of the scenario 
should appear, and the pages should 
be consecutively numbered in the upper 
right-hand corner. This avoids dan- 
ger of unintentional misplacements in 
handling many manuscripts. Stand- 
ard "typewriter size" paper should be 

38 



The Photoplaywrights Handy Textbook 

used, and, whenever possible, a black 
ink ribbon. Always make a carbon 
copy or even two copies of each sce- 
nario to guard against loss in the 
mails. Write on one side of your paper 
only. 

On the first sheet, in the upper left- 
hand corner, your name and address 
should appear. Near the top of the 
page, in the center, the title should 
be placed. Below this write your 
synopsis. 

Then, beginning on a fresh sheet of 
paper, w r ith your name and address 
again written in the upper left-hand 
corner and the title of your scenario 
centered near the top, write down your 
cast of characters. While on a theat- 
rical program the characters' names 
frequently are printed in the order in 
which they appear on the stage, in 
writing a cast for a scenario the rule 
generally followed is to list them in 
the order of their importance to the 

20 



The Photoplaywrights Handy Textbook 

plot. It is not necessary to include 
in this cast the names of minor char- 
acters unless they appear frequently or 
with unusual action in the story. 

Beginning again on a fresh sheet, 
with your name and address and the 
title placed as before, start writing 
your scenario, the title of the scenario 
appearing in the upper left-hand cor- 
ner of each subsequent sheet. 

Each scene should be numbered and 
its location indicated at the very be 
ginning. 

By studying carefully the scenarios 
which are given complete in Part Two 
of this book you very quickly will 
master the technique of the manu- 
script. Take them for working models 
in laying out your manuscripts, fol- 
lowing closely the form in which they 
are given. After a little practice the 
form will become unconsciously fixed 
in your mind. 



40 



PART II. 



CHAPTER VII 
Synopsis 

THE following synopsis is not only 
for the purpose of example, but 
also to give the student oppor- 
tunity to construct a practical scenario 
therefrom : 

A Woman's Love 

While visiting at the seashore Anna 
Stanley meets Herbert Turner and his 
mother. Hurt in a football game, Her- 
bert has lost the use of his limbs and 
has to be wheeled about in an invalid 
chair. The three become friends. 

One day while Anna is reading to him 
Herbert takes the book from her and 
tells her that if he were not a cripple 
he would declare his love, but, as Fate 
had willed it otherwise, they would be 
just friends. 

Herbert's physician informs him that 
he has laid his case before a great spe- 

43 



The Photoplaywrights' Handy Textbook 

cialist who is coming to see him. The 
specialist, after consultation with the phy- 
sician, advises an operation, which may 
restore to Herbert the use of his limbs. 

Herbert decides to submit to the oper- 
ation and asks his mother to write a note 
to Anna, saying nothing about the oper- 
ation, but merely stating that they must 
be away for six weeks, and that they 
hoped to find her still there on their 
return. 

During the absence of the Turners, 
Anna realizes that she loves Herbert and 
would rather marry him and be his nurse 
than to be the wife of any other man. 

The operation proves successful, and 
the Turners return to the seashore. They 
wire Anna to meet them, which she 
does. Still in his invalid chair, Herbert 
greets her. That evening the three are 
seated on the veranda. Mrs. Turner 
discreetly leaves. Anna falls silent and 
finally Herbert asks her to tell him her 
thoughts. Slowly she tells him that if 

44 



The Photoplaywrights' Handy Textbook 

he still meant what he had said six weeks 
before she would marry him whenever 
he wished. He takes her hand and kisses 
it. The next day they are married. 

One year later. A rose-covered cot- 
tage. Herbert is coming down the road, 
striding along in the full vigor of his 
restored health. His mother meets him 
at the gate and tells him that he is the 
father of a boy. 

Tableau : Anna is in bed and Herbert 
is near her. His mother has the baby 
in her arms and the four heads are close 
together as the picture slowly fades. 



AS 



CHAPTER VIII 

Scenario — Drama 

"BETTY ASSISTS" 

Betty Stone A Vermont girl in love with 

the young station agent 

Tom Wright The young station agent 

John Stone Betty's father and owner of 

the Stone Marble Quarries 

Tony Lupo Stone's foreman 

Boston Red A city crook 

Synopsis 
Tony Lupo plots with Boston Red, 
whom he meets in "The Quarrymen's 
Rest," to steal the monthly payroll of 
the Stone quarries which Stone has 
ordered sent by messenger from Rutland 
on the noon train. Knowing that Stone 
always meets the train for the money the 
conspirators plan to keep him away so 
that the money will be left in the station 
agent's safe for them to get when the 
train has gone. Lupo cuts the cable on 
a derrick and the boom falls on Stone, 

47 



The Photoplaywrights Handy Textbook 

crushing his legs. When the noon train 
arrives Stone is just returning to con- 
sciousness in his home. A quarter of 
an hour later he remembers and sends 
Betty on horseback to get the money. 

Meanwhile the conspirators have over- 
powered Tom Wright, the station agent, 
who is secretly engaged to Betty, and 
they tie him to the rails a little way up 
the track in the path of the Rutland Ac- 
commodation, then nearly due. With the 
money they took from his s<afe they 
speed down track on a handcar, seen by 
Betty, who has just arrived and has 
noticed the disorder in Tom's ticket 
office. She releases Tom just in time to 
save him from death under the wheels 
of the train, and a posse uncouples the 
engine and gives chase to the handcar. 
The handcar is overtaken and the con- 
spirators take to the bushes, only to 
double on their tracks when pursued by 
the posse, and reappear near the engine. 
They plan to steal the apparently un- 

48 



The Photoplaywrights' Handy Textbook 

guarded engine, but are met by Betty 
and a shovelful of coals. She blows the 
whistle, "covers" the conspirators with 
one of their own revolvers, and faints in 
Tom's arms when the posse returns and 
bind her captives. 

(Subtitle) 
BETTY TAKES HER MORNING CANTER 
ON "MONARCH" 
Scene 1 
Dooryard of Betty's home, a typical "im- 
proved" village house. 
Betty comes out through door, picks up 
kitten on doorstep, romps with dog, throws 
handful of corn to chickens, then crosses yard 
in direction of barn. 

Scene 2 
Barn door and part of yard. 

Betty arrives at barn door. Hired man 
leads Monarch, Betty's horse, out of door. 
Betty pats Monarch, gives him sugar, mounti 
into saddle, and rides off. 

Scene 3. 
Cut to Scene i. 
Betty's mother comes to door. Betty ridei 

49 



The Photoplayzvrights Handy Textbook 

up, reins up at door, and takes from mother 
her father's pipe, which he has left at the 
house by mistake. She waves goodbye to her 
mother and rides away. 

Scene 4 
.Country road. Marble quarry just ahead. 
Eetty canters by on Monarch. 

Scene 5 
In front of quarry office. 

Betty dashes up on Monarch. Her father, 
John Stone, comes to door with smile of wel- 
come. Betty hands him his pipe, which he 
fills and lights. Tony Lupo, Stone's foreman, 
tries to hold Monarch's head, but Betty waves 
him away. Lupo, scowling, leaves. Stone dis- 
appears in office and comes out with a paper 
which he hands to Betty, pointing down the 
road. Betty nods and reads the paper, which 
is a telegraph message. 

(Screen message: "Vermont National Bank, 
Rutland. Cash for payroll this month $5,500. 
Send by express messenger on noon train 
to-morrow. John Stone.") 
(Subtitle) 
BETTY SENDS THE TELEGRAM FOR 
HER FATHER 

Scene 6 
Road, approaching small railroad depot. 

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The Photoplaywrights' Handy Textbook 

Betty canters up on Monarch, reins in, sur- 
veys depot for a second or two, then rides on 
toward it. 

Scene 7 

Interior ticket office, in depot. Big clock on 

wall, telegraph instrument^ ticket window, 

safe, etc. 

Tom Wright, young station agent, making 

out report sheet at table. He hears Monarch'* 

hoofbeats, his face lights, and he hastens out 

of office. 

Scene 8 

Exterior of depot looking along rear side and 

showing rear door. 

Betty on Monarch centers up to door. Tom 
comes to door to greet her. They glance 
stealthily around for witnesses, then Betty 
leans from saddle to Tom, who kisses her. 
They chat, then Betty hands Tom her father's 
message. Tom tries to snatch another kiss, 
but Betty wheels Monarch and sends a teas- 
ing laugh over her shoulder. Tom watches 
her away, then turns back into depot. 

Scene 9 
Cut to Scene J. 

Tom enters, sits at telegraph instrument, 
reads message and begins sending it. 

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The Photoplaywrights Handy Textbook 

(Subtitle) 
THAT NIGHT: STONE'S FOREMAN 
MEETS A CITY CROOK AND PLOTS 
TO STEAL THE PAYROLL 
MONEY 
Scene 10 
Interior "Quarrymen's Rest" a cheap road- 
house. Men from quarry and local "char- 
acters" at bar and tables, 
Lupo enters and sits at table in foreground, 
alone. Nods surlily to one or two quarry- 
men. Stranger, of city crook type, enters and 
sits at Lupo's table. He orders a drink and in- 
vites Lupo to join him. Lupo consents. After 
the drink the stranger begins talking stealthily 
to Lupo, who at first listens with mixed sur- 
prise and scorn, but later with growing cupi- 
dity and eagerness. After another drink he 
falls in with the stranger's line of argument 
and with him in whispers plans to steal the 
quarry payroll money the next day. 

(Subtitle) 
THE NEXT DAY: LUPO SCHEMES TO 
KEEP STONE FROM MEETING 
THE NOON TRAIN 
Scene 11 
The quarry, with big derrick base in fore- 
ground. 

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The Photoplaywrights Handy Textbook 

Men are working under Lupo, preparing 
huge block for hoisting. He sends them away, 
then with a hammer and cold chisel cuts 
cable on drum. He finishes just as Stone 
appears to order work resumed. 

Scene 12 
The derrick, further away. 

Stone gives the word and the derrick be- 
gins lifting the block of granite. The cut 
cable snaps, and the big boom, just swinging 
over falls on Stone. 

Scene 13 

Cut to Scene u. 

The workmen pry up boom and draw Stone 
from beneath it. He is badly hurt. They 
tenderly pick him up and carry him toward 
the quarry office, Lupo directing them. 

Scene 14 

Cut to Scene 5, 

The workmen arrive with Stone, spread 
blankets on the ground, and lay him there. 
Lupo enters office. 

Scene 15 

Interior quarry office. 

Lupo goes to wall telephone of " farmers' 
line" and rings up a number with crank. 

53 



The Photoplaywrights Handy Textbook 

Scene 16 
Interior Betty's home, dining and living room. 
Betty enters from kitchen, sleeves rolled up, 
with pan of peas which she has been shelling. 
She sets pan on table and answers 'phone. 

Scene 17 
Cut to Scene 15. 
Lupo starts talking. 

Scene 18 
Cut to Scene 16. 

Betty hears from Lupo the news of her 
father's accident. She clutches at wall for 
support, then pulls herself together. Mrs. 
Stone comes from kitchen and sees Betty's 
agitation. Betty tells her mother the news. 
Mrs. Stone, built of stern New England stuff, 
bustles about making up the lounge. Betty 
reaches for her sunbonnet, and after embrac- 
ing her mother for mutual comfort, hurries 
out. 

Scene 19 
Cut to Scene 3. 

Betty comes running out through door and 
hurries toward barn. 

Scene 20 
Cut to Scene 2. 
Betty comes out, leading Monarch all sad- 

54 



The Photo playwrights Handy Textbook 

died and bridled. She mounts and rides away. 

Scene 21 
Cut to Scene 14. 

The doctor arrives and bends over Stone, 
who is still unconscious. Lupo sneaks away 
just as Betty arrives on Monarch. Betty asks 
the doctor how badly her father is hurt. The 
doctor indicates that both legs are broken. 
She reels^ then steadies herself. 

(Subtitle) 

LUPO'S SCHEME HAVING WORKED, 

THE CONSPIRATORS MEET 

Scene 22 

Woods beyond edge of quarry. 

The city crook sits waiting. Lupo arrives 
and excitedly tells of the success of his plan. 
The crook slaps him on the back. Lupo tries 
to back out of the rest of the agreement, but 
the crook becomes ugly and threatens him 
with with a revolver. Lupo hastily changes 
his mind and they disappear in woods. 

Scene 23 
Cut to Scene p. 

Tom, worried over Stone's non-appearance 
to meet the noon train for the money, com- 
pares his watch with the wall clock, which 
points to twelve. He shakes his head and 
leaves ticket office, wearing a puzzled frown. 

55 



The Photoplaywrights Handy Textbook 

{Subtitle) 

THE MONEY ARRIVES AND IS PUT IN 
TOM'S SAFE 

Scene 24 
Train platform of depot. 

Tom appears from depot front door as 
train pulls in and stops. Conductor gets off, 
followed by messenger with leather handbag. 
Messenger asks Tom for Stone. Tom indi- 
cates that Stone hasn't arrived, but is ex- 
pected. They go inside depot. 

Scene 25 
Cut to Scene 23. 

Tom and messenger enter ticket office. 
Handbag is put in safe. Tom signs a re- 
ceipt ? locks safe, and goes to telegraph instru- 
ment, where he pencils a message that is com- 
ing in. He takes paper with message and 
accompanies messenger from office. 

Scene 26 
Cut to Scene 24. 

Tom and messenger come from depot. Mes- 
senger boards train. Conductor signals en- 
gineer and train begins pulling out. Tom 
walks to trainboard with paper, and from it 
chalks on trainboard: 

56 



The Photoplaywrights Handy Textbook 

(Screen trainboard. Next Train — Rutland 
Accommodation. Due — 12 :30. Reported — On 

Time.) 

Scene 27 
Cut to Scene 23. 

Tom enters ticket office and locks door. He 
takes revolver from table drawer and puts it 
in his pocket. He sits down at instrument and 
begins taking a message. 

{Subtitle) 

THE CONSPIRATORS BEGIN THEIR 

WORK 

Scene 28 
Pile of ties near depot. Depot in background. 
Lupo and the city crook come sneaking to 
pile of ties and crouch behind. They turn 
their coats inside out and tie handkerchiefs 
over nose and mouth, hide their hats under 
ties, and put on caps which they draw over 
their eyes. Then, after a survey of the situa- 
tion, they begin working their way toward 
depot. 

Cut to Scene 27. 

Tom still at instrument. He glances al 
clock, which points 12:10. He bends over his 
instrument again. Masked face suddenly ap- 

57 



The Photo-playwrights' Handy Textbook 

pears in ticket window, followed by hand 
pointing revolver. Tom turns and finds him- 
self "covered." A second figure bursts into 
the office door and "covers" Tom until man 
at window also enters. They start binding 
Tom, first taking away his revolver. 

Scene 29 
Cut to Scene 18. 

Mrs. Stone has lounge all made up to receive 
her injured husband. Betty and the doctor 
enter and behind them workmen from the 
quarry tenderly bring Stone. Stone is put 
on lounge and the workmen are dismissed, 
only Stone, Mrs. Stone, Betty and the doctor 
remaining. Stone is now conscious. The doc- 
tor begins helping Mrs. Stone undress him. 
Stone's eyes turn to clock on mantle and he 
suddenly half rises, pointing to the clock. 

{Subtitle) 

"TWELVE FIFTEEN! THE MONEY! 

BETTY YOU MUST GO FOR IT!" 

(Back to picture) The doctor pushed Stone 
back. Stone explains about the money due 
on the noon train. Betty assures her father 
that she will go, kisses him, and leaves room. 

58 



The Photoplaywrights Handy Textbook 

Scene 30 
Cut to Scene 19. 

Monarch near door. Betty comes out, 
mounts and is away. 

Scene 31 
Cut to Scene 28. 

Robbers working at safe. They glance 
anxiously at clock, knowing they must get 
away before the arrival of the Rutland ac- 
commodation at 12 :30. Tom, insecurely tied, 
gets loose and attacks the two men. In the 
struggle the telegraph table, which Tom tries 
to reach to call for help, is overturned. Tom 
is rebound. The conspirators get the safe 
open and take out the bag of money. 

Scene 32 
Cut to Scene 4. 
Betty rides along road. 

{Subtitle) 
THE CONSPIRATORS PLAN TO DIS- 
POSE OF TOM. 

Scene 33 
Cut to Scene 31. 

The conspirators hold an argument, pointing 
toward Tom. Lupo is dissenting, but the city 
crook insists. Lupo finally agrees. They pick 

59 



The Photoplaywrights' Handy Textbook 

up Tom and carry him and the bag from the 
office. 

Scene 34 
Cut to Scene 26. 

Conspirators carrying Tom come from 
depot and move off up-track. 

Scene 35 
Cut to Scene 6. 
Betty comes galloping toward depot. 
Scene 36 
Up-track. Handcar at trackside. Long 
straightaway into distance. 
Conspirators come with Tom. They bind 
him to the rails, put handcar on track and start 
back toward depot. 

Scene 37 
Cut to Scene 8. 

Betty reins Monarch at door, waits a sec- 
ond for Tom, then dismounts and tiptoes 
inside. 

^Subtitle) 
BETTY SUSPECTS FOUL PLAY 
Scene 38 
Cut to Scene 33. 

Betty enters ticket office, sees disordered 
condition and halts in sudden comprehension. 
She looks at clock which points nearly 12:30. 
She runs out. 

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The Photoplayzvrights' Handy Textbook 

Scene 39 

Cut to Scene 36. 

Tom alone on track. Smoke of train ap- 
pears in distance. Tom writhes and twists to 
escape his bonds. 

Scene 40 

Cut to Scene 34. 

Betty appears in depot door. Handcar pro- 
pelled by conspirators whirls by. Betty's in- 
tuition tells her Tom is up track. She runs 
in that direction. 

Scene 41 

Cut to Scene jp. 

Train comes rushing nearer. Tom writhes, 
foreseeing his death. Betty arrives, loosens 
his bonds just in time to snatch him from 
track as engine stops a few feet beyond where 
he had lain. Crew and passengers pour from 
train. Weakyl, Tom tells his story. Man 
with air of authority beckons engineer and 
orders engine uncoupled. A posse hastily is 
organized of the train crew and Tom. Betty 
insists on going along and finally gains her 
point. They climb aboard the engine, which 
pulls out. 

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The Photoplaywrights Handy Textbook 

(Subtitle) 
THE PURSUIT 

Scene 42 
On the handcar. 

Conspirators, working handles, see engine 
pursuing up-track. They work furiously. 

Scene 43 
On the engine. 
Handcar appears growing nearer. 

Scene 44 
Track showing the handcar. 

Conspirators, realizing escape hopeless, stop 
handcar and leap to ground. They run into 
bushes at trackside and disappear. The en- 
gine comes and stops. Posse, all but Betty, 
leap out and follow conspirators. 

(Subtitle) 
BETTY ASSISTS 

Scene 45 
Up-track in rear of engine. 

Conspirators, who have doubled on their 
tracks, creep from bushes and cross track, 
stealing toward engine. 

62 



The Photoplaywrights Handy Textbook 

Scene 46 
Across the track, near engine. 

Conspirators do not see Betty, who sees 
them first and hides. They creep up to en- 
gine, and the city crook starts to climb 
aboard. He is confronted by Betty and a 
smoking shovel of hot coals. In confusion 
he drops his revolver, which lands in engine 
cab. Betty throws the shovelful of coals 
after him for good measure, then picks up 
revolver. With the gun she "covers" the con- 
spirators, while with her free hand she 
reaches the whistle cord and blows long 
blasts on the whistle. The two stand there, 
hands in air, until the posse returns on the 
run. Tom is first to the cab step, just in 
time to catch Betty, who falls fainting in 
his arms, while the posse is binding the 
captives. 



63 



CHAPTER IX 

Scenario — Comedy 

THE following scenario purposely is 
given incomplete in form. The 
synopsis is omitted in order that 
you may, as an exercise, write one your- 
self. Keep it within two hundred words. 
The sub-titles also have been omitted. 
See if you can supply them, inserting 
them in their proper places, making them 
snappy and concise. See if you can con- 
fine the number to six, none to be over 
ten words in length. 

STINGY TILDY JANE 
Caste 

Tildy Jane A storekeeper and "the 

stingiest woman in town" 

Nancy Tildy Jane's niece 

Frank Nancy's blasksmith sweetheart 

Scene 1 
Interior of grocery store, 

Tildy Jane behind counter weighing some 
coffee. Two or three village women gossip- 

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The Photoplayzvrights Handy Textbook 

ing, with Tildy Jane trying to wait on 
them all at the same time and seeing that 
they do not steal anything. The coffee 
weighed, Tildy Jane removes one bean 
from the scale to get the correct weight 
and not one coffee bean over. The cus- 
tomer sees her and starts complaining. 
The other women join her and there is a 
general argument. The coffe is spilt on the 
iloor and the women all leave angry and 
excited. 

Scene 2 
Exterior of grocery store. 

The women come out of the store excitedly 
vowing they will never enter it again, and go 
down the road still gesticulating and jabber- 
ing. 

Scene 3 
Cut to Scene I. 

Tildy Jane is sitting on the floor trying to 
pick up the coffee and crying as though her 
heart would break. 

Scene 4 
Cut to Scene 2. 

Nancy and her sweetheart come up the road 
and stop near the store. They talk for a while 
until he steals a kiss, when she runs laughing 

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The Photoplaywrights' Handy Textbook 

into the store. He watches her enter, then 
goes up the road. 

Scene 5 
Cut to Scene 3. 

Tildy Jane is still on the floor weeping over 
the spilt coffee beans. Nancy enters, still 
laughing, and falls over her aunt, Tildy Jane. 
Frightened, they try to scramble to their feet, 
but become so entangled in each other's arms 
and feet that they simply flop around ludi- 
crously. They regain sitting posture just as 
a customer enters. 

Scene 6 

Exterior of schoolhouse. 

A number of women are gathered in an 
excited meeting. One woman ? the leader, is 
revealing to the others a plot she has planned 
to make Tildy Jane spend some money. Each 
of the women is to go to Tildy Jane's store, 
and while buying something is to ask Tildy 
Jane what she is going to buy her neice, 
Nancy, for a wedding present. This is to 
continue for a week. 

Scene 7 
Cut back to Scene 5. 

The customer and Nancy are helping Tildy 
Jane to her feet. Nancy is laughing, but 

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The Photoplaywrights' Handy Textbook 

Tildy Jane is angry. The customer tries to 
make peace, but Tildy Jane only splutters 
more venomously. Nancy doubles up with 
laughter until the customer takes her by the 
shoulders and puts her out of the store just 
as Tildy Jane goes behind the counter. 

Scene 8 
Exterior of blacksmith shop. 

Frank is shoeing a horse. Nancy enters. 
Frank stops his work and takes her in his 
arms and kisses her. Then she tries to tell 
him what happened in the store, doubling up 
with laughter in the recital. But the more 
she laughs the more serious he becomes, and 
he tries to calm her. But every time she sees 
his serious face she only laughs the harder. 

Scene 9 
Cut to Scene 7. 

Tildy Jane is fixing up things in the store. 
She is tearing pages from a magazine to use 
them for wrapping paper and thus save money. 
Two women enter and make purchases, which 
Tildy Jane wraps up in the magazine pages. 
The customers look at each other and call 
each other's attention to the wrappings. When 
they get their change they ask Tildy Jane 
what she is going to buy Nancy for a wedding 

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The Photoplaywrights Handy Textbook 

present. She tells them that it will be some- 
thing nice, and the women assure her that it 
had better be or they would never buy any- 
thing in her store again. As they exit two 
nrore women enter, and the four exchange 
glances filled with meaning. 

Scene 10 

Cut to Scene 4. 

The two women come out of the store and 
beckon to two women who are across the 
road. When the women join them the first 
two tell them what they said to Tildy Jane. 
While they converse two more women join 
them, the two who were in the store come 
out and send two of the others in. All laugh, 
and the four who are outside await the return 
of the two who enter the store. 

Scene 11 

Cut to Scene 9. 

Tildy Jane is behind the counter waiting on 
the two new customers, who ask her about 
Nancy's present. They exit and two more 
enter, make their purchases, and ask the same 
question. When they exit Tildy Jane falls 
across the counter, tearing her hair at the 
thought of spending money for the present. 

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The Photoplaywrights Handy Textbook 

Scene 12 
Cut to Scene 10. 

Nancy is about to enter the store. She 
turns as though some one had called her and 
waits for a second. Two women join her and 
tell her not to go into the store just yet, as 
they have a private communication to make 
to Tildy Jane. They push her out of the 
scene and enter the store just as two more 
women come up the road. 
Scene 13 
Cut to Scene II. 

Tildy Jane is sitting on a barrel of apples, 
looking as though she had lost her last friend. 
The two women enter and she waits on them. 
They ask her the same old question, and Tildy 
sways as though she had been struck. The 
women exit and two more enter, and as they 
ask her the same question she swoons across 
the counter. 

Scene 14 
Cut to Scene 12. 

Nancy is standing near the store wondering 
what the mystery is all about, when one of the 
women rushes out and collides with her. The 
woman tells Nancy that her aunt has fainted 
and sends her for a doctor. Nancy goes 
hurrying away for the doctor. 

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The Photoplaywrights' Handy Textbook 

Scene 15 

Cut to Scene 13. 

The woman returns and, with the one who 
had remained, tries to revive Tildy Jane. 
Nancy enters with the doctor just as Tildy 
Jane opens her eyes. When she sees the doc- 
tor, Tildy Jane demands to know who is going 
to pay him. She makes it plain that she won't, 
as there is nothing the matter with her, and 
to prove it gets up and brandishes a broom 
at him. He exits in a hurry, slamming the 
door so hard that a jar falls off the counter. 
Tildy rushes for the jar and minutely exam- 
ines it to see if it is broken. When she sees 
that it is not broken she hugs it and sets it 
back on the counter. The two women ex- 
change glances and exit. Tildy Jane orders 
Nancy to hurry and close up the shop. 

Scene 16 
Same as Scene 15. 

Tildy Jane is seated near the counter tear- 
ing more leaves from the magazine for wrap- 
ping paper. She suddenly stops and gazes 
intently at a leaf she has just torn out. On 
it is an advertisement: Nickle-plated Cups, 
Ninety-five Cents a Dozen. The thought 
strikes Tildy Jane that these cups would be 

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The Photoplaywrights Handy Textbook 

just the thing for Nancy's present — cheap and 
a lot for the money. She takes paper and 
envelope and sends for them. 

Scene 17 
Interior of an old-fashioned parlor. 

Nancy, her sweetheart and a few of her 
young friends are fixing up the room with 
flowers. They are preparing it for her 
wedding. 

Scene 18 
Cut to Scene 16. 

Tildy Jane is in the store. A boy enters 
and hands her a parcel. She pays him, count- 
ing over the change to see that it is not a 
penny over ? and he exits. She opens the par- 
cel and looks admiringly at the beautiful 
drinking cups. She writes a twenty-five dollar 
price tag, sticks it on one of the cups, does 
them up again, and puts them away just as 
two women enter and start to ask her the 
same old question. She looks haughtily at 
them and tells them she has just spent $25 
for a present. The women drop their jaws 
in amazement and hurry out to break the news 
as Tildy Jane looks after them with a smirk 
of triumph. 

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The Photoplayivrights' Handy Textbook 

Scene 19 
Cut to Scene 17. 

Nancy is dressed in her bridal costume. 
Presents are heaped on the table, and a num- 
ber of friends enter with more, which they 
hand to her. Tildy Jane enters, bringing the 
cups on a tray, with the price mark well in 
evidence. The friends gather around and 
admire the cups and Tildy Jane wears a proud 
look. 

Scene 20 
That night, same as Scene 19. 

Nancy is still in her bridal gown. Her hus- 
band stands near her as they put away the 
presents. He is tearing the pages out of a 
magazine and she is wrapping them around 
each cup. When three cups have been wrapped 
up she notices the advertisement and reads it 
to him. At first they take it as a joke. Then 
Nancy forms a scheme. She sends him to call 
their friends, and he exits. He re-enters, fol- 
lowed by their friends. Nancy tells them that 
she wants them to go with her to her aunt's 
store the next day, and they all agree. 

Scene 21 

Cut to Scene 18. 

Tildy Jane is in the store looking at the ad. 
of the cups and smiling huge satisfaction. 

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The Photoplaywrights 3 Handy Textbook 

Nancy and her husband enter, followed by a 
dozen men and women. When all cluster 
around Tildy Jane, Nancy tells her aunt that 
the cups are altogether too fine for her, and 
that if she would take the cups back and give 
her twenty-five dollars' worth of merchandise 
for them it would do far more good. Tildy 
stands looking at the crowd as though she 
didn't understand what Nancy meant. Then 
all try to tell her to take back the cups and 
give Nancy what she wants. Comprehension 
dawns in Tildy Jane's mind and she struggles 
not to let her face express her chagrin. Very 
slowly she drags her way in back of the 
counter and begins to measure flannel while 
the crowd exits. Nancy and her husband look 
at each other and smile, while Tildy Jane 
keeps on measuring and weeping. The scene 
slowly fades. 



74 



CHAPTER X 

Where to Send Your Scenario 

O many changes forever are taking 
place in the control and manage- 
ment of the various concerns 
which produce motion picture films that 
we advise recourse to any of the motion 
picture magazines for revised lists, which 
they are visually glad to furnish for a 
small sum to cover mailing expense. 

However, at the time of going to press 
the following list of film manufacturing 
companies is accurate: 

New York City 
*Biograph Company, 808 East 175th Street. 

Comet Film Company ? 344 East 32nd Street. 
*Thomas A. Edison (Inc.), 2826 Decatur Ave- 
nue, Bedford Park. 
Famous Players' Film Co., 213 West 26th 

Street. 
Gene Gauntier Co., Warner, 145 West 45th 

Street. 
Great Northen Co., 7 East 14th Street. 

75 



The Photoplayzvrights > Handy Textbook 

Helen Gardner Co., Fuller Exchange, 472 

Fulton Street, Brooklyn. 
*Kalem Company, 235 West 23rd Street. 
Lux Film Co., 10 East 15th Street. 
*Melies Company, 204 East 38th Street. 
Monopol Co., 145 West 45th Street. 
Ryno Film Co., 220 West 42nd Street. 
Kinemacolor Company, 1600 Broadway. 
New York Motion Picture Co., 42nd Street 

and Broadway. 
Kay-Bee Co. r 42nd Street and Broadway. 
Keystone Co., 42nd Street and Broadway. 
Universal Co., Broadway and 48th Street, 
releasing the following, but all communi- 
cations should be addressed to Universal 
Co.: 
Bison 101, Hollywood, California. 
Champion Co., 145 West 45th Street, New 

York. 
Eclair Studio, Fort Lee, N. J. 
Crystal Company, 430 Wendover Avenue, 

New York. 
Gem Company, Coytesville, N. J. 
Imp Company, 573 Eleventh Avenue, New 

York. 
Nestor Company, Hollywood, California. 
Powers Company, 422 West 216th Street, 

New York. 
Rex Company, Hollywood, California. 

76 



The Photoplaywrights' Handy Textbook 

Victor Company, 645 West 43rd Street, 
New York. 

Out of Town 
Atlas Company (Frontier), 414 Century 

Building, St. Louis, Mo. 
American Company, 6227 Evanston Street, 

Chicago, 111. 
American Company, Santa Barbara, Cal. 
Broncho Film Co., 1712 Allesandro Street, 

Los Angeles, Cal. 
*Cines Co., George Kleine, 166 North State 

Street, Chicago, 111. 
*Essanay Film Mfg. Co., 1333 Argyle Street, 

Chicago, 111. 
Gaumont Company, Flushing, New York. 
Kinemacolor Co., 4500 Sunset Boulevard, Los 

Angeles, Cal. 
*Lubin Mfg. Co., 20th Street and Indiana Ave- 
nue, Philadelphia, Pa. 
*Lubin Mfg. Co. (R. Fielding) ? Las Vegas, 
New Mexico. 
Majestic Motion Pictures, New Rochelle, 

N. Y. 
Pilot Film Corporation, 120 School Street, 
Yonkers, N. Y. 
*Pathe Freres, 1 Congress Street, Jersey City 
Heights, N. J. 
Reliance Motion Pictures, 537 Riverdale Ave- 
nue, Yonkers, N. Y. 

11 



The Photoplaywrights Handy Textbook 

*Selig Polyscope Co., 20 East Randolph Street, 
Chciago, 111. 
Solax Company, Lemoine Street, Fort Lee, 

N.J. 
Thanhauser Co., New Rochelle, N. Y. 
Florence Turner Films, Church Street, 
Walton-on-Thames, Surrey, London. 
*Vitagraph Company of America, East 15th 
Street and Locust Avenue, Brooklyn, N. Y. 
Note. — This circular has been corrected 
down to August 20, 1913. 

Those marked with a (*) are Licensed; the 
others Independent. 

Do not forget to inclose stamps with 
your manuscript to insure its return in 
case of rejection. 

And do not be discouraged if at first 
you meet with a number of disappoint- 
ments. Stick to your work, and after a 
while practice and experience will rem- 
edy all your faults and you will find your 
market. 



78 



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